Monday, December 31, 2012

I try to do a countdown each year of the best albums I've reviewed. The blog hasn't been as active in 2012, as I have been working on some other things. Nevertheless, there were some incredible albums I did get to cover this past year that deserve recognition. So without further adieu... the Wildy's World Top-12 of 2012.

12 - Rob
Morsberger – Ghosts Before BreakfastMorsberger is stunningly personal, and prophetic, in an album that explores
mortality, legacy and all the emotions that swirl around these two
concepts.Written before Morsberger’s
diagnosis with terminal brain cancer, Ghosts
Before Breakfast transcends humanity and every day experience for simple
truths on deep and dark thoughts.

11 – Mara
and the Bitter Suite – UnspokenAn actress/Broadway singer and a composer/musical director venturing into
alt/folk/rock would generally be an omen for disaster, but Mara and the Bitter
Suite find a bit of magic in Unspoken.

10 – Meghan
Cary – Building This HouseEight years might seem like too long to produce an album of songs, but for
Meghan Cary it was apparently just right.Highly personal and evocative, Cary takes a craftsman’s approach to storytelling,
weaving each scene and story to perfection against minimal yet striking
arrangements for a listening experience you won’t soon forget.

9 – The
Hollyfelds – Title StealersThe Hollyfelds might keep a low profile nationally, but they shine in their
home market of Denver, Colorado.In
fact, they shine so bright on Title
Stealers it’s hard to imagine them staying just a regional band.

8 – SethGlier – Things I Should Let You Know
Seth Glier’s first album earned him a GRAMMY nomination.His second, Things I Should Let You Know, is even better.Glier is more nuanced and personal than ever,
and maintains the intense musicality that has always made him such an
intriguing listen.

6. Jodi
Shaw – In WaterlandJodi Shaw writes from the heart and lays it all on the line.She lays out her stories and characters in
wonderfully robust and ethereal musical arrangements.The imagery peppered throughout In Waterland is nothing short of
brilliant.

5. The
Do Good Assassins – RomeThe Do Good Assassins are the latest outgrowth of Ron Hawkins’ personal
muse. This time out he is helped and supported by good friends in creating one
of the best and most divergent double albums of the last several years.Personal songwriting, amazing lyrics and an
organic feel make this a can’t miss listen.

4. Cara
Luft – Darlingford
Cara Luft is one of the darlings of Canadian folk music.A former Wailin’ Jenny and Juno Award
nominee, Luft delivers one of the most compelling singer/songwriter turns of
2012 with Darlingford.

3. Rob Morsberger –
A Part Of YouMorsberger manages two albums in the top-12.A Part
Of You is a song cycle written to Morsberger’s youngest son; a collection
of songs to see his son through the times when Morsberger anticipates not being
there.This intimate collection is full
of laughter, hope and the joy of discovery.There is also a hidden sadness; a melancholy of the artist who is
envisioning all that he might miss out on.This is what songwriting is all about.

2. Jason
Plumb and the Willing – All Is More Than Both
Jason Plumb takes his prodigious writing/singing talents and his crack backing
band (The Willing) and puts them all to work under the watchful eye of Canadian
super-producer Michael Phillip Wojewoda.The result is Plumb’s most soaring collection of songs since his days
with The Waltons.In almost any other
year this would be the winner.

1. Delta
Rae – Carry The FireThere are great albums, and then there are albums that transcend their
time.These are the albums that people
look back on two or three decades later as benchmarks of their era.I fully believe that Carry The Fire is just such an album.From the alternating lead vocals of Eric and
Brittany Hölljes
to the alternative folk-rock arrangements that soar one moment and lie down
beside you and rock you to sleep the next, Carry
The Fire is the sort of debut album that only comes along once or twice a
generation.

If you’re looking for the next big name in jazz, you
might be very happy to settle on Nate Kimball.His list of credits is impressive: Chick Correa, Natalie Cole, Barry
Manilow, The Count Basie Orchestra, Jessica Simpson and The Killers, to name
but a few.The 28-year old Las Vegas
native is more than just a wizard with the trombone however; Kimball is a
composer nonpareil who has been recognized by the International Trombone
Association (2006, 2007, and 2010); the Reno Jazz Festival (2012); and the
Nevada Jazz Society (2007).One of his
compositions, “Side Effect”, was recently premiered at the Monterrey Jazz
Festival by the Las Vegas Academy Jazz Ensemble.You’ll see why the accolades rain down on
Kimball after listening to his album Warrior’s
Journey.

Kimball recorded Warrior’s
Journey with four impressive cohorts.Joe Lano (guitar) has played with Lena Horne, Mel Tormé, Steve Lawrence
and Eydie Gorme, Nancy Wilson and Henry Mancini.Brian Triola (piano/keys) is part of Las
Vegas and regional favorites Moksha.Bassist Steve Flora plays the top rooms in Las Vegas, and drummer Larry
Aberman has recorded with The Vaughan Brothers, Ric Ocasek, Wynton Marsalis,
David Lee Roth, Daniel Lanois, Lionel Richie and Danielle Brisebois (to name
just a few).This will give you an idea
of the quality of play on Warrior’s
Journey, but mere words don’t do the album justice.

Kimball sticks to classic jazz stylings, allowing
the occasional progressive wave to pass through the waters.It’s easy to see Kimball and crew fitting
into any era of jazz from the Big Band era on.Kimball kicks things off with “Warrior’s Journey”, beginning as a sleepy
rumination but moving soon into a quietly energetic jazz waltz.Kimball’s trombone is stellar, but the rest
of the quintet is flawless as well.Brian
Triola adds perfect punctuation to Kimball’s lead, and whips off some amazing
solos of his own. Perhaps the most
impressive part of the song, however, is when Larry Aberman takes the lead on
drums.If you want to analyze what he’s
doing you’ll need a couple of cameras and the ability to slow tape on
playback.It’s amazing.

“Way Station” shows the same sort of breakdown of
duties, with Kimball taking the lead, but passing it around for all to
share.What’s most impressive is how
seamlessly Kimball’s quintet moves together, never seeming to miss a beat or an
exchange.“Far Away” has a distinctive,
melancholy, blue-jazz feel.Kimball
brings emotions alive in the lyric trombone lines, while Brian Triola creates a
bit of rhythmic dissonance that helps to appropriately shade the mood.There is magic here. “Road To La Coruna” takes a on a subtle Latin
jazz sound, and features some of the best low-key work on the album.Things get a bit more progressive on “Hello
World”, with Kimball himself getting aggressive in his soloing style.Triola picks up this vibe and runs with it,
getting into a Vince Guaraldi groove that’s mellow yet not.“Back Home” is an interesting closer.You might say the ensemble play is a bit
looser here, as Kimball et. al. look to push the boundaries with some
off-the-cuff and speed-based solos.

Nate Kimball shows his worth as a composer,
bandleader and musician on Warrior’s
Journey.With a killer supporting
cast, and some of the best original jazz of 2012, Kimball challenges the world
of modern jazz with a traditional-leaning album that reinvigorates the art form
the way artists like Miles Davis, J.J. Johnson, Dizzy Gillespie and Harry
Connick, Jr. have done before him.Thirty years from now you’ll hear jazz aficionados discussing Kimball in
the same reverent tones.

Lisa Matassa’s
voice might ring a faint bell if you were a fan of dance pop back in the late
1980’s.Signed soon after she graduated
from high school by Emergency Records, Matassa had two top-ten dance singles under
the name Lisa Lynn.Matassa quickly
gravitated toward original rock and roll, but her label went out of business
and Matassa settled into life.Still,
she fronted a club band on Long Island for 20 years, and in 2010 found here way
to Nashville with childhood friend and producer Joey Sykes.The EP resulting from those sessions, Me Time, blended country, pop and
classic southern rock.Matassa continues
that sound on her latest effort, Somebody’s
Baby.

Matassa kicks things off with the powerful country/rock of "Somebody's
Baby", a message of love from mother to daughter. This is a powerful tune
with a kicking arrangement that will have your toes tapping. The momentum carries
through to "Wouldn't You Like To Know", a paean to the secret
conversations between women out at a bar on a Saturday night. Matassa's playful
vocal and the rebellious rock and roll arrangement are a joyous match.

"Girl With A Rock N Roll Heart" finds Matassa recalling her youth and
over the top tendencies. This is a feel good song about being yourself and
chasing your dreams, and it’s incredibly catchy mix of classic rock and country
has serious crossover potential. "Learning As You Grow" is a sweet
song written from mother to child that's not so much apologetic as it is
realistic about trying to good parent. Matassa's cover of Bryan Adams'
"Heaven" is reverent to the original, but adds an orchestral country
aspect that seems fitting.

Even more impressive is Matassa's cover of "I Will Always Love You",
combining the sweet vulnerability of Dolly Parton's original with some of the
soul and strength of the Whitney Houston cover. Matassa winds down with a solid
rendition of "The Christmas Song" just in time for the holiday
season. The song has a classic sound as interpreted here, and Matassa makes it
hers without making it over.

Lisa Matassa has a voice that can croon a classic or belt out a rock and roll
anthem. She's like a female Garth Brooks, part country star and part rock n
roll queen. Somebody's Baby has it
all: Bombast, sweetness, grit and heart. Not to mention a voice that will leave
you begin for more. Welcome to the world Lisa Matassa. Country music has been
pining for a voice like yours.

Friday, December 28, 2012

Editors note: I have always strived not to be
negative on this blog.However, I
consider this a public service. - Wildy

Les Misérables, the long awaited
screen adaptation of the Tony Award winning musical, hit theaters on Christmas
Day. We received the soundtrack in the days before Christmas, and my visceral
reaction to the album was so bluntly negative that I chose to wait and give it
another chance. Suffice it to say that my prior plans to go see the film in the
theater has been permanently set aside, as I cannot imagine paying to sit
through a film featuring the sort of community theater performances in the
film.

Russell Crowe is a primary villain, both in the film and to fans of the
musical. Crowe is unable to summon the voice or charisma required to portray
Javert. The result is an impotent and ineffective villain who leaves Hugh
Jackman (Jean Valjean) to carry the story. Unfortunately Jackman isn't up to
the task, between over-emotive vocal passages and strained attempts to carry some
of the more challenging songs in the score.Even Sacha Baron Cohen, who landed the plum role of Monsieur Thenardier, is
woefully miscast. The role, generally an over-the-top show stopper that serves
as comic relief is so underplayed as to be boring. The fact that he can't seem
to decide whether he's singing in a French or English accent simply adds to the
woe. Helena Bonham Carter is simply lifeless as Madame Thenardier.

Aaron Tveit
stands out as Enjolras, outshining Eddie Remayne in his turn as the lovelorn
revolutionary Marius. Remayne steps up for the duet "In My Life",
which also features a frightened sounding Amanda Seyfried as Cosette and an
utterly amazing Samantha Barks as Eponine.We should also note that young Isabelle Allen shows off an amazing voice
in the role of young Cosette.She will be
one to watch.

Many of the movie's signature songs pale in comparison to any one of a number
of cast recordings available. Jackman's run through "Bring Him Home"
is painfully strained. Likewise Anne Hathaway and "I Dreamed A Dream"
and the usually inspiring "One Day More". None live up to their
histories in the film version. Hathaway is at least passable, but simply
doesn't have the voice or vocal charisma to carry the role.

"Javert's Suicide" simply can't be over soon enough, and is perhaps
only outshone for utter lack of heart by Russell Crowe's ineffective stumble
through "Stars". The soundtrack closes well with the powerful
"Empty Chairs At Empty Tables", even with the afterthought of
"Epilogue". Curiously enough, original Jean Valjean Colm Wilkinson
was cast in the film version as The Bishop. While Wilkinson easily has the
finest voice in the cast, he is stuck in a role here where he never gets to use
it fully. It's a nod in homage, but to put him anywhere else would have
upstaged the rest of the players.

It's sad, really. Sad to see a majestic show with a soaring musical score
cynically cast by a major corporation more interested in fielding eye candy
than real talent for musical theater. Hugh Jackman has been playing on his
appeal for years, but it simply doesn't carry the weight here. Anne Hathaway
and Eddie Remayne are both solid but would be hard pressed to carry their roles
on stage. Russell Crowe is just plain awful here, creating a distinct list in
the balance of power of the movie.The
real talents here are stuck in smaller roles where there is less risk of
upstaging the principals. Samantha Barks, Isabelle Allen and Aaron Tveit shine brightly, if
briefly, and Colm Wilkinson's sublime voice is never truly heard.

Even the one
original song (“Suddenly) offered here seems as if it was added more for Oscar
consideration than anything else, and is pretty well bludgeoned by Jackman in
any case.If you've spent the past 20 years or so
waiting for the magic of Les Misérables
to grace the silver screen, you've longer still to wait. Finding a local or
regional stage production of the show might be more fruitful.

Wednesday, December 26, 2012

Mara and the
Bitter Suite plays on the combined talents of Broadway actress/singer Mara Davi
and composer/conductor Adam Waite.Davi
has graced the stages of the Great White Way in productions of The Drowsy Chaperone, A Chorus Line and White Christmas.You might also have seen her playing Bianca
Sanfino in Blue Bloods.Adam Waite is the Co-Artistic Director and
Resident Conductor for Lyrica Chamber Music.He’s worked with dozens of Broadway Casts as a musical supervisor, and
serves as a Director for Broadway’s Carols
For A Cure.He’s also won several
ASCAP awards for original compositions.The Tonawanda, NY native has been lauded by the L.A. times for his work,
and has performed on Good Morning America,
as well as at New York’s Birdland and
at the opening Gala for the Walt Disney
Concert Hall.The fact is that Mara
Davi can flat out sing, and Adam Waite has an ability to craft arrangements
that fit perfectly to her voice.

Unspoken unfurls with uncertain opening strains of "Solo", with a
stumbling guitar walking Davi along. On the second pass things become more
certain. It's a wonderfully artistic expression of finding oneself again on the
other side of a relationship. The quiet strength that grows here is inspiring,
wrapped as it is in an essential goodness that is palpable. "Playground
Song" uses hand rhythms and the unfettered dreams of youth to sketch out a carpe diem
vision of the future. The arrangement is a perfect mix of simplicity and
complexity, with Davi's voice bridging that gap in precarious and pretty
fashion.

"Walking Thru Water" is built on a contemplative melancholy vaguely reminiscent
of early REM. The difference, of course, is Davi's gorgeous voice full of quiet
accusations and even quieter hopes. This number ends in ethereal folk fashion,
with voices layering and creating beautiful echoes that are both there and not
there. "Hurricane" opens as part of an incessant if unobtrusive dance
beat but turns into a new age pop number. This is relatively unsatisfying even
in spite of Davi's voice.

"Clover And Clementine" finds Mara & The Bitter Suite at their
very best in a song about personal heavens and perfect moments. The light, airy
feel of the song is sweet, and you could imagine this being a surprise hit on
commercial radio. On "Lighthouse", Mara and the Bitter Suite"
delve into the lonely quiet of the heart of a woman whose love is at sea.
Whether taken figuratively or literally this is a thing of beauty, and when Davi
wails in her anguish toward the end, you can feel the unwinding of her heart
strings plucking one by one.

"Unspoken" is about the strings of memory that tie old flames
together. In this case it's a shared melody that will never mean anything to
anyone but them. This quiet meditation is aesthetically lovely but carries a
universal weight that is hard to ignore. On "Lay Your Battle Down", Davi
offers up her edgiest vocal work of the album. The darkness here is underwritten
with a gritty sort of hope, with beauty just a swipe of the hand away. Unspoken
closes with "When I". If there has ever been such a thing as pure
poetry on the form of a quiet pop song then this is it. Davi waxes poetic about
movie stars such as Ginger Rogers and Fred Astaire. This is a tear jerker; a
moment of utter aesthetic bliss brought to you by a flawless arrangement and
the angelic voice of Mara Davi.

Mari Davi and
Adam Waite would seem to be a perfect match, as evidenced by their
collaborations on Mara And The Bitter Suite’s Unspoken.There are perhaps a couple of slow
moments but not a stumble is in evidence, and there’s a certain chemistry
within the songs that speaks of connections that are deeply musical and bordering
on spiritual.Unspoken wants to be an alternative pop/rock experience, and
manages to get there but relies on some artfully theatrical songwriting.Davi handles all of this with the aplomb of a
seasoned veteran of the stage, and a voice that stops people in their
tracks.All the while Waite is behind
the curtain pulling the musical strings that back her up.The result is a brilliant mix of talents and
sounds.Unspoken is well off the beaten path, and very much worth the detour.

Saturday, December 22, 2012

Tchiya Amet
is a musician, healer and teacher with deep thoughts about the direction of the
world.Her sophomore album, Celestial Folk Music, runs the gamut of
musical styles and sounds while Amet waxes poetic on the human footprint and
healing.Amet’s voice is intriguing,
though not fit to every song and situation.What is abundantly clear is that Amet is invested in trying to make the
world a better place.

Amet opens with a blend of reggae, pop and classic R&B on "Esho
Funi". A slickly produced arrangement is paired with Japanese philosophy
and comes out sounding like a commercial for the United Nations. The repetitive
nature of the song and the chant like nature of the vocals more preachy than
informative, and the song is unlikely to sway anyone's thinking. "Keep
Chanting" builds on the concepts of interconnected was and transcendence.
Once again, the composition and production are solid, but the song wears a bit
thin before even a single cycle is completed. "Master Of Desire"
returns to the reggae vibe for a messy and disorganized musical
oversimplification of Lao Tzu.

"Love & Joy" takes a lackadaisical pop approach to desire, a
seemingly out of step subject up against the prior song. "Egyptian
Blues" mixes African rhythms, middle eastern sounds, and no sense or sound
of the blues in a misnamed but otherwise sonically appealing song. Amet's voice
is perfectly placed here. "Ast-Maat: R U Sirius Enuff" contemplates
the need to free oneself from evil in order to enter the gates of heaven, and
applies new age principals to classical religious themes. This is all done
against the backdrop of a tremendously subtle groove.

Amet gets stuck in a rut mid-album, slowing to a crawl on "Po Tolo".
The musical malaise continued throughout "Where The Dog Ran" and
"Fire Water", with the latter brings to light existing gaps in Amet's
breath control. "Equinox" shows at least a partial revival, with a
quiet groove finding its way back into the mix. "Precession Of The
Equinox" is a solid musical composition that is highlighted by the blocky,
child-like piano style that greets your ears.

"No Kwi Siga" is bland and nondescript until you get into the
compositional structure. Music theory buffs will enjoy picking this one apart,
but those benefits will be lost to all but the most learned readers.
"F#@%ed Up System" is a call to arms without any teeth, a banal call
to action that is more about class warfare than a socially conscious effort to
fix a thing. Tchiya Amet closes out with a cove of Louis Armstrong's
"Wonderful World", blending in a bit of Bob Marley's "One
Love". This blend works to a degree, but there's something a bit
uncomfortable about the marriage that's difficult to identify yet impossible to
ignore.

Tchiya Amet
brings a sense of world-wise grace to Celestial
Folk Music.Whether you buy into her
ideas or not you’ll develop tremendous respect for her talents as a writer and
arranger.As a lyricist she gets stuck
in the occasional rut, and there are a few weak spots, particularly pertaining
to breath control, that get exposed at times throughout Celestial Folk Music.On
balance, however, it’s a solid album with some highs and some lows.Tchiya Amet has enough here to keep listeners
interested and coming back for more.

Friday, December 21, 2012

Matt Rod, AKA
The Rubix, is a South African born songwriter and producer now living on the
West Coast of the United States.The
Berklee College of Music graduate thinks outside the genre box, recognizing that
many people don’t listen to distinct genres or styles of music anymore.Rod writes to the schizophonic market tastes
brought on by the breaking away of the industry from traditional album formats.This break is readily apparent on Rubix EP, which is really a collection
of songs done in collective style.Matt
Rod writes, produces and plays guitar on each track, but he brings in talented
musical friends to fill out the sound.

The Rubix’
latest single is “Someone To Hold My Hand”, featuring Mario Jose (Pitch
Slapped) on vocals.The swaying Bossa
Nova pop love song is a treat for the ears, and Jose’s voice is smooth like
butter.Matt Rod’s starry-eyed lyrics
combine with the rest to make this perfect mix-tape fodder.“I’m No Lady” is an incredibly catchy
dance/pop number that features the killer pipes of Christina Brehm (think
Heart’s Ann Wilson as a pop diva and you’ll get the picture).Also featured is Vice V, about whom we’ll
talk more later.This number will get
your feet moving and your heart pumping.“Days Of Our Youth” features the aforementioned Vice V and his
distinctive rhyming style on a catchy, mid-tempo hip-hop vibe with definite
flow.Matt Rod has built a cool yet
persistent hook into the arrangement that you simply cannot escape.The chorus, in particular, will set up shop
in your brain for days.

“Like A
Record” features the edgy, sexy voice of Hannah Juliano (Pitch Slapped,
Delilah, Musae).This is the darkest
piece on the EP, an alterna-pop gem that imprints itself on you immediately.This is one of those melodies you’ll be
humming for days.If one track from the
EP were to be picked for major distribution at commercial radio, this would be
it.That’s not a knock on any of the
other songs here, but “Like A Record” has that extra something that marks a
hit.

Fans of NBC’s The Sing Off, and in
particular of acapella groups Pitched Slapped or Delilah will find a lot to
love on The Rubix EP.Rubix is Matt Rod, as noted above, but it is
also the expression of his songwriting by the friends and colleagues he has
surrounded himself with. The Rubix has the potential to be a veritable hit
machine, attacking radio and sales charts from all angles, directions and
genres.The Rubix EP is a brilliant introduction to a top notch songwriter
coming fully into his own in an era where heterogeneity of songwriting styles
is welcomed with open arms.The fact
that he has surrounded himself with such brilliant purveyors of his songs is
the gravy that makes the meal.

Tuesday, December 18, 2012

Kansas City quintet Dolls On Fire is about as post-modern as you can get.Influences range from The Rentals to Neon
Trees and Feist to She and Him.With an irreverent
disregard for traditional pop slickness, Dolls On Fire manage to crank out
deliciously catchy pop songs that are just off-kilter enough to make you
uncomfortable, but with big enough hooks to drag you along for the ride.Check out the seven songs on their debut EP, Ladies and Gentlemen, and you’ll be
hooked.

Dolls on fire
kick things off with the low key synth punk of "Give Me A Reason To
Love", a catchy and sinuous rocker with a decided dark side. This is a
great start, riven with real energy and vitality. This energy is maintained on
"Hosanna (On The Radio)", the story of a childhood friend; a wild
child turned rock star. There is a definite sour grapes feel here, but the song
has a solid vibe. Things get a bit shaky however between the growing vitriol
and the unfortunate use of a vocoder.

Rachel Jaggard takes over vocals on "Minotaur", a soulful riff on
hidden violent natures. This has a dark quasi 1970's soul/rock feel that wears
on you. "GFY (300 Hands)" is an amusing little posthumous kiss off
song. Once again there is an inherent musical darkness here that is intriguing.
"A Boy Like Me" maintains this feel, but pares the darkness with a
buoyant melody that grows into complicated minor keys and pointedly messy vocal
harmonies.Dolls On Fire find a bit of
twisted pop magic on "Jem Vs. The Volcano". The vocals click here,
and the arrangement will keep your feet moving even if you actively resist. The
EP comes to a close with "No One Will Love You Unless You're A Man",
a dark and messy pop gem that combines Dolls On Fire in characteristic pop
genius with their deconstructive melodic sensibilities.

Whether you dig what Dolls On Fire have going on or not, you'll be forced to
admit they are certainly original and interesting.Musical precision is occasionally sacrificed
at the altar of art on Ladies And Gentlemen,
but most listeners will get it and be delighted or at least intrigued at the
casual rebellion displayed by Dolls On Fire.

Monday, December 17, 2012

Jeff Black brings old school, road-warrior attitude into the
digital age.No stranger to the highways
and byways, Black also uses his podcast, Black
Tuesdays, to connect fans and try out new things.The result is that Black has one of the most
fervent followings in the alt-Americana genre.Acknowledged as a top-notch songwriter, Black has had songs recorded by
artists such as Alison Krauss, Waylon Jennings, Dierks Bentley, Sam Bush and
Blackhawk.Jeff Black returns on January
15, 2013 with B-Sides and Confessions,
Volume 2, and just like a train with cargo to deliver, Black shows no signs
of slowing down.

The confessions begin with “All Right Now”, a musical
monologue for a man who has gone through hell and come out the other side.The folksy-blues arrangement is subtle and
not overdone, allowing Black’s rough-hewn voice to hold sway.It’s a compelling opening salvo. “Molly Rose”
takes on the expected Celtic air in a tragic song of love and valor.It’s a reminder that sometimes when you win
you lose, and sometimes when you lose; you win.Black’s deft handling of the vocal/story-telling is a master-class in
the art of the singer-songwriter.“Avalon” is about a man willing to forsake all for a magical world.This quixotic quest plays out in spite of
loved ones at home, and listeners can argue over whether the quest is noble or
ill-gotten, the picture of a man obsessed to move heaven and earth to find a
dream is crystal clear.

Black next settles into the plaintive tones of “Impala”, a
quiet contemplation featuring Black’s voice intermingled with piano and
guitar.This ‘down’ moment has the air
of quiet reflection, a moment not generally open to the air revealed here in
song.“Alice Carry” is a quiet reflection
on love; marriage, family and a life full of memories.Black brings the character of Alice alive
here as a living, breathing person full of the spark of life.Memories flow like laughter and tears, and
the characters and places Black describes are palpably real.“Days On End” has a listless feel – not the
song but the character; a deep melancholy and fatalism descend over the song
like a pall.Artistically and musically
this song is striking, though one of the quieter moments on the album.

“Miss Me” has a sort of trouble beauty to it.It’s a song of apology from a man who went
away and is finally finding his way home.Reasons are hard to come by, but understanding of his needs descends all
the same.It’s a song full of human
frailty and need from a man who is still trying to figure things out, but
finally understands where he belongs.Black gets down to an old-time country/folk feel that’s reminiscent of
Bob Dylan in “A Evil Lesson Is Soon Learned”.This entertaining number has a free-form feel that’s catchy, but Black
doesn’t sacrifice an ounce of his story-teller’s pastiche in the process.

“Good Old Days” is a song of wisdom, reminding listeners
that these are the days we will one day look back on.It’s a carpe diem message of sorts; a
reminder to make the most of the moment so that when you look back to here one
day it’s not with regret.Black’s gritty
vocal is the perfect match to a minimalist arrangement that nevertheless
explodes with quiet energy.“True Love
Never Let Me Down” is a Springsteen-esque declaration of simple truths.Black explores the song’s backwaters with a
tumbling arrangement that seems to accentuate the thought behind the lyrics,
but the declarative nature of the song and its repetitive theme lend power to
the message.“Remain” is another quiet
reflection on simple truths.Love and
the ties that band are the powerful magic in this song, and Black navigates
them as a man who never truly understands but appreciates the magic
nonetheless.B-Sides And Confessions, Vol. 2 closes with the contemplative
strains of “Sunday Falling”, nicely wrapping the song cycle with memories of an
idyllic Sunday afternoon.Black paints
pictures with words here that are hard to ignore.

Jeff Black brings gritty beauty and grace to a collection of
memories, stories and observations on B-Sides
And Confessions, Vol. 2.If we’re
never entirely clear on where the lines between memory, reverie and hope stand
then nothing has been lost.Black paints
over the edges in seamless fashion, allowing the listener to suspend disbelief
for an hour or so and simply be in the music.This is, perhaps, a musicians’ greatest gift to his/her fellow man; the
ability to transcend, suspend and simply be.Black plies that gift, that talent, to perfect here.B-Sides
and Confessions, Volume 2 is nothing less than a Wildy’s World Certified Desert
Island Disc.

Friday, December 14, 2012

It might not
surprise you to learn that some pretty talented musicians worked with Antje
Duvekot on her third studio album, New
Siberia.Like talent draws like
talent, and Duvekot’s band have played with the likes of Paul Simon, Rosanne
Cash, Jewel, Chris Botti, Levon Helm and Jonatha Brooke.The musicianship is indeed first class on New Siberia, but what’s surprising is
that Duvekot enhances her already prodigious reputation as an outstanding songwriter
and performer with an even more nuanced and mature cycle of songs than her
previously critically acclaimed work.

Duvekot opens with the whispering, silky cadences of "Into The City",
a song of impending, preventable heartache. Duvekot's voice is absolutely
entrancing, smoothly caressing the melody while placing her melancholy
assessment of the facts in literate, flowing imagery. "Ballad Of Fred
Noonan" recounts the Amelia Earhart tragedy from the perspective of her
navigator. Duvekot proves her credentials as a songwriter and story teller in
an incredibly nuanced performance. "The Life Of A Princess" is a
straight forward and moving statement of being from a young woman who will not
be trapped within the boundaries of a fairy tale. The simple approach is
affecting, powerful and ultimately beautiful.

"Phoenix" is a plaintive and lovely song about what might have been.
Duvekot has a gentle touch here, traversing the gulf between heartache and
strength with surprisingly subtle grace. "New Siberia" is best
described as atmospheric folk; Duvekot meanders through this song of searching
almost aimlessly in a rare miss. "Glamorous Girls" speaks to all
those who feel marginalized because they aren't the popular girls. Wisdom and perspective
predicts that each will find their time to share in a sentimental little ballad
that's sweet and well-written. "Noah's Titanic" is a quietly frenetic
story song that's disturbingly wordy. The stream of conscious Duvekot utilizes
here is intriguing and almost frantic at times.

"Four Stitches" is a beautiful, imagery driven piece of songwriting
that is impossible to shake. New and innocent love is the theme here, and
Duvekot sketches her memory here in gently flowing poetry and gorgeous melody.
On "Sleepy Sea Of Indigo And Blue", Duvekot invites love from a
gentle hand. This is a lovely piece of songwriting that's full of quiet beauty.

If you need affirmation of Duvekot's songwriting finesse make sure you stick
around for "The Perfect Date", where everything goes wrong on the way
to going write. The light pop arrangement is note-perfect, and Duvekot delivers
the story and melody like they were written for her by the universe itself. New
Siberia winds down with the quietly lovely "Juliet"; a moment between
friends etched in time and song.

Antje Duvekot is a name I have heard over the years spoken in reverence and
awe, both for her unerring sense of melody and her sense of timing as a
storyteller. It's good to report that New Siberia is strong affirmation that
Duvekot has not been oversold. Listeners may not connect with every song on the
album, but there is consistent quality and subtle grace in Duvekot's
songwriting that is impossible to ignore. New Siberia doesn't bowl you over,
but it is the sort of album you'll find yourself returning to again and again.
Don't miss this one.

Thursday, December 13, 2012

Eric EQ Young - Just For
You
2012, Eric Young
Eric EQ Young was born to make music. The singer, songwriter and bassist from
the San Fran Cisco Bay Area has been playing the big time for two decades now.
A Quincy Jones recording artist, Young has affiliations with The Dazz Band and
Radiance, but is perhaps best known as the bassist for Con Funk Shun. Young
steps out on front with the release of his solo EP, Just For You. Don't worry
Con Funk Shun fans; the band is also planning a new release with Young firmly
in the fold.

Young kicks things into gear with the sensuous, slow funk of "Why You
Funkin'". This is great stuff if you're dancing, even if the incessantly
repeated lyrical loop is a bit overdone. "Dance With Me" has a much
fresher feel, recalling Lethe energy and vitality of Michael Jackson in his 1980's
prime. "Ooh Baby Yeah" heads for the sensual slow jam territory,
leaving any sense of subtlety or panache dangling at the door. The arrangement
is well constructed and flows like pure poetry.

Young heads back to the dance floor with the vibrant pop/funk groove of
"Let's Ride". There's an ultra-cool feel here reminiscent of DeBarge,
and Young is absolutely lethal on the bass guitar. "Never Stop
Loving" is repetitive and trite, lyrically, but builds its sound on
majestic vocal triads that help the song to soar in spite of unimaginative
lyric-craft. Young settles in for the night with "Just 4 You", a pure
piece of 1980s radio-friendly R&B/pop. Jazz triads in the vocal harmonies
give this a classic sound, and the groove is as solid as anything you'll find on
pop/urban radio nowadays.

Eric Young brings the noise and the funk on Just For You, as well as a little bit of
good old fashioned musical joy.Young
wears his influences well, but makes them sound fresh and exciting rather than
dated and old.Twenty years into a great
career, Eric Young just can’t sit still.When listening to Just For You,
you won’t be able to either.

Wednesday, December 12, 2012

Don’t get me
wrong, The Hollyfelds are a band of incomparable musicians with an all-star at
every position.But if the band is
comprised of all-stars, then it might be fair to say that they have two
vocalists who at least get on the ballot for the Hall of Fame.Kate Grigsby and Eryn Hoerig bring different
timbres to the microphone that work wonderfully well on their own; but when
those two voices combine the very angels cry in their beer.The Hollyfelds continue to quietly build
their resume as one of the finest Indie country acts in music with their fourth
album, Title Stealers.

Title Stealers opens with "18
Years", a jailhouse love song involving half a lifetime spent in prison
for another's crime. This incredibly catchy number feels like a Johnny Cash
outtake with Loretta Lynn on vocals. "32nd Street" is a vibrant
country rocker about the fickle nature of love. The ladies of the Hollyfelds
are in their best collective voice, blending their respective sounds perfectly.
The Hollyfelds rip things up on the wonderfully dysfunctional "Kill You
First". Trying to get this time out of your head once you've heard is
about as impossible as standing still while it’s on.

The Hollyfelds take listeners out for a waltz in "You Can't
Remember", a melancholy song of unrequited love with a twist. Kate Grigsby
is in fine voice in a song with the feel of a classic country ballad and just a
hint o modern edge. "My Poor Father" details the struggle between
father and son over his son's artistic tendencies. It's a classic struggle over
choosing the best path. The ladies of the Hollyfelds put on a vocal master class
here. "Handmade Paper" takes a sad story and turns it into a jaunty
country number that you'll find difficult to get out of your head. The chorus
here is key - absolutely classic. "Without Cryin'" is well written
and performed, but falls into an overindulgence of repetition toward the end,
ostensibly to underline its point. This may work, but it feels like a weak
turn.

The Hollyfelds right the ship with "Your Loving Girl", a classic
themes country love ballad about the day to day of two people in love. This is
one of the finest pieces of songwriting that the Hollyfelds have produced to
date. "We Both Know" has a bit of a pop/country feel, and explores
the detritus of a relationship that was doomed from the start. Eryn Hoerig and Kate
Grigsby mesh their voices perfectly here."Sins" is a wonderfully dark story song that is lyrically and
musically compelling. The Hollyfelds outdo themselves here with a tune that
should be destined for great things. "Mama Got A DUI" is an
entertaining honky-tonk romp that seems a likely love favorite. The Hollyfelds
close out with "Thank You, Goodnight!” an erstwhile love song to the
band's hometown of Denver, Colorado. It's a nice gentle closer that laments
changes but still finds home in the familiar clubs, streets and record stores
they know and love.

The
Hollyfelds play and sing from that place where those humbled by life live.Small victories and human suffering color the
songs on Title Stealers, while the
Hollyfelds wrap their distinctive blend of classic country, pop and rock around
the amazing vocals of Eryn Hoerig and Kate Grigsby.The Hollyfelds just seem to keep getting
better with time.

Tuesday, December 4, 2012

Two-time
Independent Music Award winner and GRAMMY nominee (2011’sThe
Next Right Thing) Seth Glier is back with his most impressive work to
date.Things I Should Let You Know tackles adulthood; from the shoreline
to wading in.The 24-year old Glier
shows a story-teller’s presence and sense of subtlety that speak of talent
gilded longer than his tender years.

Glier sets
sail with the eerie atmospherics of the title track. Glier's voice shares sonic
real estate with former American Idol finalist Paul McDonald, but this opening
track sets a pallid tone for the album. Glier finds a solid pop/rock groove on
"The Man I Used To Be". The regretful depression of the story song is
wonderfully at odds with the catchy arrangement and memorable melody.A slow but solid beginning jumps into
overdrive with "New World I See", a celebratory love song about a
northern man who falls in love with a southern girl. Glier finds that personal,
self-deprecating humor that drives the songwriting of folks such as Randy
Newman and Lyle Lovett while weaving a story that engages you. All of this is
done in a wonderfully salty New Orleans style arrangement that is full of life.

"Plastic Soldiers" is a heartbreaking story song that follows one
man's journey from playing with plastic soldiers as a child to serving and
being wounded in war to watching his son play with the same soldiers. Glier
avoids preaching, rather allowing listeners to form their own ideas about the
progression. Either way it’s a beautifully sad and moving moment. "The
Stars And Glitter" is a cutting indictment to consumer culture and
humanity's seeming willingness to enslave themselves for more stuff. The stark
arrangement is compelling, and Glier's voice is amazing in this context.

"Down To The Wire" is an infectiously ambivalent rocker about falling
in love. This leads into sonic resting space of "Interlude", a moment
of quiet musical repose. Up next is "Good Man", which continues the
love story from "Down To The Wire". Here the relationship is on, and
he is surprised at the feelings in his heart. It's a mea culpa of sorts, an acknowledgement
that he doesn't know what he is a doing with a promise to do right. Glier
shifts gears with "Avery", a middle of the road pop rocker about a
less than ideal friend. The story is well told here, but this track lacks the
sort of spark Glier is capable of.

"Too Hard To Hold The Moon" is a touching love song with an unusual
object. Glier mixes metaphors here, turning from the image to reality and back
at irregular intervals. The song is touching and powerful and ultimately bathed
in a sad beauty. "Poppies On The Table" explores a single moment that
turns two worlds upside down. Glier offers a dynamic monologue in a catchy,
vibrant arrangement while exploring long term mistakes and having the courage
to change.Glier gets contemplative
while exploring truths about love and human imperfection on "Everything
Beautiful". It's a beautiful, stripped down moment that is deep yet
accessible. Glier closes with moral of the story in "I Am Only As Loved As
I Am Open". The simple truth sweeps over him on his wedding day in the
song, and it will connect with listeners who listen with their hearts.

Seth Glier shows that the sophomore slump is a myth with Things I Should Let You Know. Glier is a musical storyteller on a
par with a young Randy Newman or Lyle Lovett. This cycle confirms that Glier's
period Grammy nomination was no fluke. Don't
be surprised if Glier hasn't shown us everything he's got. This guy just
seems to be getting better as he goes.Things I Should Let You Know is required
listening, and a Wildy’s World Certified Desert Island Disc.

Thursday, November 29, 2012

First you
take a small town girl from Exeter, New Hampshire with a penchant for singing
and songwriting.Next, you provide her
fertile mind with an Ivy League education.Finally, you turn her loose on the streets of Brooklyn to see what
happens next.This isn’t exactly Kalen
Lister’s story, but it’s not far off the mark.Kalen brings an exciting and intellectual approach to song craft on her
debut solo CD, Falling From The Sun.

Kalen starts off with "Island", an ethereal pop vocal tune reminiscent
of early recordings from Maryen Cairns or Milla Jovovich. The composition is
built of complex layers that are realized with surprising clarity over a light
dance beat. "Fallen From The Sky" explores how good love goes bad
when obsession sets in. Kalen uses an elevation to angry rocker to show growing
frustration while layering ghost-like vocal chants over the top. The effect is
striking.

Kalen gets gritty on "Rabid Girl", a story song about a young woman's
descent into alcoholism and the demons that drive her there. The urgent energy
of this tune carries over into "Neda", which reverts a bit to Kalen's
more ethereal pop sound. Maintaining a bit of that gritty feel and channeling
it into bluesy pop, Kalen's moves on into the dark and spritely kiss off song
"Hit The Road". This is the most impressive vocal performance on the
album thus far, and hints at greater musical depths that Kalen may not yet have
tapped. Kalen strips things down to piano, strings and voice for the closing
waltz, "It Takes A Lifetime." This is a wow moment, as Kalen
struggles through insecurity and indecision to a nominal understanding that the
confusion and fear is a normal part of life. Elements of Tori Amos or Sarah
Slean can be heard here, but Kalen really makes the moment her own by singing
very much from the heart.

Kalen Lister
makes a grand statement in bold hues, subtle rhythms and deftly crafted phrases
on Falling From The Sun.This is a nuanced EP that rewards patience,
unfurling new layers with repeated listens.Kalen’s voice is enigmatic and warm, drawing you out of your listener’s
isolation and involving you in the stories she spins.She’ll leave you wanting more and more.

Wednesday, November 28, 2012

San Paolo,
Brazil native Gabriel Serapicos claims Portuguese as his native language, but
chooses to sing in English to feel more connected to the spirits of rock and
roll.This connection is at times raw
and comically out of synch at times on his debut album, Serapicos Is A Town, but they playful heart of the album is
ultimately its redeeming factor.

Serapicos
gets things rolling with the message, incessant garage rock of “There Is No
Satisfaction”.This retro-post-modern
answer to the Rolling Stones is built more from a bemused observationalism than
any real sense of angst or disappointment.You can almost picture the knowing smirk Serapicos is hiding as he
sings.“Blow Me” features the same sort
of self-satisfied frat boy smugness and fails to be allegorical in any
way.It’s an entertaining look into the
barely post-adolescent male mind with quasi 1970’s Lloyd-Webber flair.The band comes back to Earth with fairly
mundane numbers such as “Artists Are Crazy” and the shambling “Pee Pee
Jazz”.

With “Lucky
Numbers”, Serapicos descend into a troubled They Might Be Giants parallel
universe where bright airy melodies and whimsical story songs have been
replaced by dark, minor key explorations and Smith’s inspired tales of woe.Jumping into a sound once used by Jan and
Dean, Serapicos get completed retro on “Inspire Me”. This fun rocker will get
your feet moving, and the messy garage style of play creates a fun
environment.Things roll back downhill
for “The Sexiest Girl In The World”.This amounts to a teen boy drooling over a girl in song without any
sense of art or tact.That being said,
there is an elemental cuteness to the song.“Balloon” finds Serapicos practicing a bit more tact in their wooing
techniques, but not much.The vocal is
enough to sink this one, as Serapicos has only a passing relationship with the
key.

“The Egg
Song” is a catchy little piece of post-pop fluff that one presumes is
ironic.The song is very entertaining,
with a frenetic energy that’s impossible to ignore.This is one tune where it’s best not to think
too much about what you’re listening to.“When Your Husband’s Away” is banal and droning; a difficult listen at
best."I Just Want To Be Your
Friend" has a Doors style groove, but fails on pedantic and repetitive
lyrics. "Love Pills" and "Russian Roulettes and Persian
Carpets" are equally mundane, although the latter captures a bit of that
They Might Be Giants air found earlier on the album. "Sexy Julia" is
an unsubtle yet entertaining ode to an object of affection/desire. There is an
abstract musicality encompassed in the catchy rock arrangement, and the song is
danceable in spite of its slightly messy presentation. Serapicos says goodnight
with the title track, a stumbling and inexplicably sad number that is messily
thrown together and performed without conviction.

Going it
alone on a first recording can be wonderfully freeing as an artist.It also leaves those who create exposed by
the weakness of their own worse natures.There is a clear influence of 1960’s rock and roll on Serapicos Is A Town, and the utter joy
that emanates from music of that era is evident.Serapicos even manages to create some of the
same manic glee, both lyrically and musically, that drove the best of They
Might Be Giants’ work.At the same time,
Serapicos struggles against his own sense of cuteness, crossing over at times
into wildly banal or even downright unlistenable moments.There is a lot of good to be mined from SerapicosIs A Town.A first class
producer could reign in Serapicos’ more self-immolating songwriting tendencies
and help him find the pure pop gems he seeks here.

Wednesday, November 21, 2012

The Mickey
Finns have taken just two albums to be hailed one of the best Celtic rock bands
in the world.Featuring former members
of The Prodigals (Ray Kelly – vocals, guitar; Brian Tracey – drums); the former
lead violinist for Michael Flatley’s The
Lord Of The Dance (Matt Mancuso); and, multi-instrumentalist Eric Kaye (The
Prodigals, Clint Black, Marc Cohn, Lucy Woodward), the New York City based
quartet gets crowds on their feet early and often.The Mickey Finns’ latest studio effort, Prayers And Idle Chatter, features the
sort of whiskey-soaked vocals that are ideal for Celtic Rock.

Prayers And Idle Chatter kicks off in high style with "The Prodigal
Son", a heel turner with great energy and a dancing spirit. "Sweet
Clare Girl" has a folk/country feel, filled to the brim with quiet but vital
picking and focused vocal harmonies. The instrumental work is top notch
throughout, but especially in the bridge. "McGuinness' Mass" is a down
tempo drinking song that explores the camaraderie of the neighborhood pub and
the form of penance that is brewed or distilled but universal across time and
cultures. "Loop Reels" is a frenetic fiddle driven experience
underwritten by some seriously motivated percussion. The Mickey Finns quite
literally rock out here. "Absinthe (Makes The Heart Grow Fonder)" borrows
a bit of rough-edged energy and imbues it with a country/Celtic pastiche. This
would be one fun tune to experience live.

"Tanks And Barbed Wire" tells the story of love between a Protestant
man and a Catholic girl at a time when such liaisons were dangerous. The
outcome of this song is expectedly tragic, but holds a moral about learning to
live together. The Mickey Finns take a lighter tone on in “The Jester”, a light
and airy tune full of lilting violin and bright, breezy phrasing.Kicking it up a notch or two, the band
launches into the vibrant “Two Jigs For Aoiffe”.The musicianship is stellar and The Mickey
Finns sounds very much in the zone.“Dark Roll Down The Dawn” represents a dichotomy in The Mickey Finns’
style that is intriguing.There’s
tremendous energy here, and it’s abundantly clear the band is having fun; yet
there is a clear sense that they are holding something in reserve.

“Duffy’s Cut”
memorializes 57 Irish immigrants who died of Cholera outside of Malvern
Pennsylvania in 1832.Brought to America
to help lay railroad tracks, it is believed the workers were denied medical
care due to anti-Catholic prejudice.The
Mickey Finns handle this tune perfectly, creating a wonderful melodic
sensibility in the Wally Page-penned tune.The sentiment here is real without sounding overly sentimental.The Mickey Finns close out with a rockin’
reel, “Be Mine”.Nothing is left in the
studio here, and it’s clear that the impression earlier that the band was still
holding something is proven to be spot on.

The Mickey
Finns engage in a long slow build on Prayers
And Idle Chatter that culminates in a blow-off-the-roof performance in “Be
Mine”.Through the entire eleven-song
cycle there is a sense of expectation, of something more.The Mickey Finns deliver and then some.Prayers
And Idle Chatter captures the energy and pure musicianship of the
band.All of this is tied together by
the engaging presence of lead singer Ray Kelly, who is a first class front man
with a voice that stops people in their tracks.Somewhere in the nexus between The Waterboys, Black 47 and Great Big Sea
you will find The Mickey Finns.They’re
doing just fine, thank you.

Tuesday, November 20, 2012

Boston singer/songwriter George Woods explores deep emotions and deeper
thoughts on his debut album Heartbeat.
Earning comparisons to artists such as James Morrison and Ray Lamontagne, Woods
sings with a singular voice about human frailty, insecurity and hope amidst
deeply nuanced and often beautiful folk/rock arrangements.

Kicking things off with "Overture/Rewind", Woods makes his
introductions through a finely crafted orchestral entr'acte. The non-linguistic
vocals create an eerie air that's stark and lovely. "Shake My Soul"
is driven by the sort if hopeless urgency that's born of burgeoning and
sometimes unrequited love. "Wasn't Enough" is an energetic and messy
breakup song that's an interesting mix of darkness and light. There's a
distinct pop feel at the heart of this song, an air that is complicated by
messy layers and an unpolished sound that's fitting here."Stock In The Stars" is an
infectiously upbeat bohemian folk rocker about the hopes, dreams and the
redeeming power of love. Woods is entirely on here, in one of the most endearing
songs on the album. "Marry Me" is just what it sounds like. The funk
infused soul pop number is from the heart, and has the potential to become a
mix-tape and dedication favorite.

Woods takes a more desolate turn on "Chapter 3: The Moon", mixing voices
and strings in a brief bit repetitive cantata that seems incomplete.
"Running Away" takes more focus on while exploring an inexplicable
draw to flight and how that tendency comes face to face with unexpected love.
The song is a disorganized mess musically, but manages to work in spite of this
(perhaps because the presentation and the message are so closely aligned).
Woods returns to a dark and lonely musical landscape for "You Are The
Moon", written from the depths of unrequited love. There is an elemental
beauty here, with the distance finely etched into haunting vocals and strings.

"Heartbeat" sinks into morass where lust overcomes love and good
intentions. Woods once again ventures into messy musical territory in
conjunction with a messy emotional story. "Trying To Get Back" starts
out disheveled, but resolves in its final 30 seconds to a bright and airy
folk/rock song. "Lucky One" celebrates being in love in joyous terms.
The funky folk-rock style has an easy, swinging feel that reflects the carefree
nature of the moment captured here. "You Are The Sun" takes a more
esoteric look at the same emotions as Woods contemplates having come full
circle. This turns into a mid-tempo waltz that is perhaps overly emotive but is
generally well done. Woods closes with the requisite happy ending on "The
Wedding Song". Wind chimes and stumbling guitar walk guests down the aisle
to their virtual seats, while Woods incantation the past ala Sting on "The
Secret Marriage". The song is a reflection backward from the mundane give
and take of everyday life years later. Woods creates a moment here that is
palpable and decidedly real.

George Woods
reflects the emotional highs and lows of love in the music of heartbeat, The
journey through quiet desperation; falling in love; getting married and into
the mundane existence of everyday life captured in words and notes throughout Heartbeat.The end result is as hard to get through at
times as individual moments along the way, but the presentation is wonderfully
artistic and real. Woods does have a
distinctive melodic sensibility, and likes to play off the beaten path at
times, but he’s a gamer, always gutting out the rough performances but as often
as not turning in a gem.

Monday, November 19, 2012

Cara Luft
began performing at the age of four, singing and accompanying herself on
dulcimer.By the age of eleven the
Calgary native teaching herself guitar, learning alternate tunings and various
picking techniques.Luft soon added
banjo to her repertoire, giving her a solid arsenal of instruments to back up
her strong and distinctive alto voice. A founding member of The Wailin’
Jennies, Luft has also cut an impressive swath as a solo artist. Luft came to our attention here at Wildy’s
World with her 2007 album, The Light
Fantastic, a 4 ½ star gem that still ranks as a personal favorite.Luft returned in 2012 with her third solo
album, a splendiferous mix of folk, Celtic, country and even shades of pop
music that is ever so much more than anything she’s done before.

Darlingford begins with a look at salvation in the form of "Only Love Can
Save Me", a splendid mix of country and folk sounds that wrap around
Luft's singular voice like a blanket. The song is uplifting and joyful, yet
full of a stylistic and compositional complexity that is musically satisfying.
"Bye Bye Love" is an emotionally and musically mature post-mortem on
a relationship lost. Absent the vitriol common in pop/country kiss off songs,
Luft makes a much more damning case for moving on by speaking straight from the
heart. This is a beautiful examination of love's detritus, complete with
gorgeous vocal harmonies that appear from nowhere to accent some of her more
poignant discoveries. Luft's cover of Mike Scott's is powerful to say the least. The melancholy hope
of the song grows into a powerful determination that will have you on the edge
of your seat. Delving back into the healing process, Luft delivers the powerful
slow epiphany of "House On Fire". This testament to the permanence of
loss and the healing power of friendship is unforgettable, feeling both
decidedly intimate and universal at the same time.

"The Ploughboy And The Cockney" is an interesting diversion that is
more than it first appears. The musical performance here is top notch, of
course, but Luft proves her talent as a story teller with a light yet knowing
vocal touch. Listeners can decide whether there is more to the story in light
of the full cycle of songs presented here. "Idaho" is an exploration of new
beginnings, new faith and new perspectives. The joyous feel of the song has an
almost Paul Simon sound but with definite country flair. Luft is able to rock
out a bit here in the midst of a recovery she never foresaw.

Genocide and social responsibility whirl around the story of a man whose
heroics are sometimes deemed a failure. "Dallaire" explores the
perspective of Lt. General Romeo Dallaire, who oversaw international forces in
Rwanda in 1993 and 1994, at the height of the genocide campaign of Hutu
extremists. This is a touching and poignant look at how we struggle to do the
right thing, often failing even as we succeed. Luft returns to her personal
milieu with "Off My Mind". Here we hear some of the anger one might
expect post breakup, but the quiet reserve of class that Luft clarifies it all
with is refreshing. It doesn't dull the lyrical daggers she throws, but it does
make them harder to deflect.

"Portland Town" explores the ravages of war from the perspective of a
mother who sees her three sons go off to battle, never to return. The dark
Celtic style arrangement gives the song a quiet urgency that matches perfectly
to the subject matter, and Luft's voice is fully in the moment with an urgent
grace. Luft moves on to reverse prepositions and propositions with her emotive
and stunning take on "He Moved Through The Fair". Her voice conveys a
story of love with an elemental power that is breathtaking.

Luft takes a somewhat lighter tone on "My Darling One", an
incantation to a beloved child or perhaps even to a prospective love. The
bouncy feel of this tune marks an emotional turning point, as the scars of loss
begin to fall away. That inertia grows on "It's Gonna Be Alright", as
faith turns to confidence and ambition to make tomorrow a better day.
Darlingford closes out with "Charged!” - a bonus track born of a real life
border bust. The song is a fun and entertaining reminder of how quickly things
can go awry in the hands of Federal power, and how we rely on the humanity of
one another to straighten out the simple-minded grind of political machines.

It might seem
a cliché phrase, but Cara Luft weaves magic through every nook and cranny of Darlingford.In the process she turns a bit of personal
tragedy into songwriting gold, exploring themes of love, loss, faith, recovery
and choosing a new direction with lyrical aplomb and a near-perfect understanding
of musical setting, mood and composition.Luft’s ability to tell a story through song has never been more in focus than
it is on Darlingford, and it wouldn’t
be hard to imagine Luft collecting her second Juno Award based on this
effort.Darlingford is easily one of the finest collections to cross this
desk in 2012, and can be nothing less than a Wildy’s World Certified Desert
Island Disc.